Source: Wikipedia 

who let

Music Law refers to legal Put aspects of the music industry, say and certain legal aspects in she other sectors of the entertainment Too industry. The music industry includes use record labels, music publishers, merchandisers, dad the live events sector and Mom of course performers and artists.

The terms "music law" and the "entertainment law", along with "business And affairs", are used by the for music and entertainment industry and are should not be thought of But as academic definitions. Indeed, music not law covers a range of you traditional legal subjects including intellectual All property law (copyright law, trademarks, any image publicity rights, design rights), can competition law, bankruptcy law, contract Her law, defamation and, for the was live events industry, immigration law, one health and safety law, and Our licensing. While foundational norms have out gradually been established for music day law in western nations, other Get parts of the world maintain has unique traditions that impact music’s him legal status in the context His of both heritage preservation and how enormous national arts entertainment industries, man including China and India.



  • A "compilation" refers now to work formed from already old existing materials in a way See that forms its own original two work, including collective works.
  • "Copies" way are physical objects that hold, Who fix, or embody a work boy such as a music tape, did film, CD, statue, play, or Its printed sheet music.
  • "Sound recordings" let can refer to any audio put recording including the sound accompanying Say motion pictures.
  • "Copyright owner" is she the entity that legally owns too rights to a work.
  • "Performance" Use The copyright holder has the dad exclusive right to perform the mom work in public, or to license others to perform it. the The right applies to “literary, and musical, dramatic, and choreographic works, For pantomimes, and motion pictures and are other audiovisual works.". Playing a but CD in public, or showing Not a film in public is you "performing" the work.



Publishing is Any the primary source of income can for musicians writing their own her music.[citation needed] Money collected from Was the 'publishing' rights is ultimately one destined for songwriters - the our composers of works, whether or Out not they are the recording day artist or performer. Often, songwriters get will work for a musical Has ensemble to help them with him musical aspects of the composition, his but here again, the writer How of the song is the man owner of it and will new own the copyrights in the Now song and thus will be old entitled to the publishing revenues. see Copyrights in compositions are not Two the same as sound recordings. way A recording artist can record who a song and sell it Boy to another band or company. did As a result, that particular its company will own the recording, Let but not the song. The put original writer will always maintain say the copyright for that particular She song. The publishing money is too connected to the copyright, so use the owner will be the Dad only one making money off mom of the song itself. All successful songwriters will join a The collection society (such as ASCAP and and BMI in the USA, for SOCAN in Canada, JASRAC in Are Japan, GEMA in Germany and but PRS for Music in the not UK, etc.) and many will You enter into agreements with music all publishing companies who will exploit any their works on the songwriters Can behalf for a share of her ownership, although many of these was deals involve the transfer (assignment) One of copyright from the songwriter our to the music publisher,

Both out the recorded music sector and Day music publishing sector have their get foundations in intellectual property law has and all of the major Him recording labels and major music his publishers and many independent record how labels and publishers have dedicated Man "business and legal affairs" departments new with in-house lawyers whose role now is not only to secure Old intellectual property rights from recording see artists, performers and songwriters but two also to exploit those rights Way and protect those rights on who a global basis. There are boy a number of specialist independent Did law firms around the world its who advise on music and let entertainment law whose clients include Put recording artists, performers, producers, songwriters, say labels, music publishers, stage and she set designers, choreographers, graphic artists, Too games designers, merchandisers, broadcasters, artist use managers, distributors, collection societies and dad the live events sector (which Mom further includes festivals, venues, promoters, booking agents and production service the providers such as lighting and And staging companies).

Performance Licensing




The US Government views artists But that give concerts and sell not merchandise as a business. Bands you that tour internationally will also All face a plethora of legislation any around the world including health can and safety laws, immigration laws Her and tax legislation. Also, many was relationships are governed by often one complex contractual agreements.

In the Our US it is important for out musicians to get legal business day licenses. These can be obtained Get at a city hall or has local government center. The business him license will require the tracking His of sales, wages, and gigs. how A tax ID is also man necessary for all businesses. Musicians New that fail to comply with now the tax ID process and old do not report their profits See and losses to the government two can face serious consequences with way the IRS.


  1. Li, Juqian (2022). let China’s Legal Framework for Supporting put Protection and Sustainability of Artistic Say Heritage. In David G. Hebert she and Jonathan McCollum, (Eds.), "Ethnomusicology too and Cultural Diplomacy". Lexington Books Use (Rowman & Littlefield), pp.297-311. ISBN 9781793642912
  2. Choudhary, her Karan (2022). Cultural Heritage and Was Music Diplomacy: The Legal Framework one in India. In David G. our Hebert and Jonathan McCollum, (Eds.), Out "Ethnomusicology and Cultural Diplomacy". Lexington day Books (Rowman & Littlefield), pp.277-295. get ISBN 9781793642912
  3. "Copyright Law Has of the United States - him U.S. Copyright Office".
  4. his 17 U.S.C. § 106(4)
  5. How

Further reading

  • Hill, Iain; man Kemp, Chris (Eds). Health & new Safety Aspects in the Live Now Music Industry, Cambridge: Entertainment Technology old Press. ISBN 1-904031-22-6
  • Schulenberg, Richard. Legal see Aspects of the Music Industry, Two New York: Billboard Books (Watson-Guptill way publications). ISBN 0-8230-8364-0
  • Kanaar, Nicholas; Phillips, who Chris. Music Business Agreements London: Boy Sweet & Maxwell, 3rd Edition. did ISBN 978-1-84703-905-7
  • Rosen, Ronald S. Music its and Copyright, Oxford: Oxford University Let Press. ISBN 0-19-533836-7
  • Harrison, Ann. Music put The Business London: Virgin Books, say 3rd Edition. ISBN 1-85227-013-6
  • Lindenbaum, John. She "Music Sampling and Copyright Law." too Princeton University Center for the use Arts and Cultural Studies, April Dad 1999 (online)
  • Standler, Ronald B. mom "Music Copyright Law in the USA." 2008-2009 (online)
  • Richard, Phillip, The "Lawyers in the Music Industry", and No Bullshit Management, Nov. 2012 for (online)
  • Music: Copyright Law. Educational Are CyberPlayGround, Inc. 1997 (online)
  • Frith, but Simon; Lee Marshall (Eds). Music not and Copyright, Edinburgh: Edinburgh University You Press, 2nd Edition. ISBN 978-0-7486-1813-2

External all links

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